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  3. VSL instrument dynamic levels?

  • VSL instrument dynamic levels?

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    I had posted this before, but got no reply: [:(]

    I've been using the demo cube to get a feel for the instruments, but I noticed that the dynamic levels have sharp jumps between them (not much between p and f?). I assume that the real orchestral cube has a LOT more dynamic levels than the demo cube?

    Thanks in advance.

    Emlyn
  • H
    H
    Sorry for missing your topic.

    Some instruments on the democube are reduced.
    Please could you post the instruments where you want detailed informations. I'll respond as soon as possible.

    best wishes
    Herb
  • E
    E
    Hi Herb, thanks for responding. With all the work going, I don't know how you find time to respond to all the questions in this forum, but keep doing it!

    The instrument where I noticed this was the demo Violins. It seemed like there was quite a sharp difference between pp (key velocity below 10) and the next audible velocity layer (key velocity around 30 or so?). This was most noticeable in the legato articulations.

    Are there more velocity layers on the orchestral cube instruments? I've found that these velocity layers are more important for writing at softer dynamics.

    Thanks again.

    Emlyn
  • S
    S
    I would suggest you use the crossfade versions of sustain instruments, especially strings. It's impossible to capture all the dynamic layers without making insanely huge instruments. I think the VSL violins have 3-4 layers, and when you crossfade between them, using the modwheel, it is enough. For staccatos you obviously cant x-fade in the same way, but it is not as crucial either, so they work fine.
  • H
    H
    In the first edition you'll find a maximum of 4 sustained velocity layers.

    Simon is right, for strings the crossfades works pretty well.
    The demo cube, don't have this crossfade mappings.

    Another option are our 0sus variations.
    Here we edited the start of each sample. Especially for the pp layers the musicians start playing very carefully, so it needs some time, that the sound is developed completely. This 0sus versions are thought for tighter and faster movements. If you change between pp and and the next velocity the level jump is also not so big.

    For the Pro Edition we recorded a flautando, its a pppp with higher bowing speed nearer the bridge.

    best wishes
    Herb
  • K
    K
    last edited
    last edited

    @herb said:



    For the Pro Edition we recorded a flautando, its a pppp with higher bowing speed nearer the bridge.

    Herb





    ooohhh GIMME GIMME GIMME!! Wait thats too forte..

    I mean gimme gimme gimme
  • P
    P
    Haha, nice one, King,

    Seriously, visiting this forum and the VSL site without appropriate funds is sheer masochism [:O]ops:

    [[;)]]
  • M
    M
    ??
    Am I missing something? In the EXS24 version, all of the "modwheel" instruments that I have tried just switch at 64 - no crossfade at all.
    I actually tried increasing the crossfade parameters and it worked quite well.

    Regarding the original post: I find there ARE some drastic level differences in the First Edition, especially with some string patches. I solved it by increasing the pp groups by about 4dB and lowering the ff groups by about 4-6 dB. This gives a smoother transition and a more "compressed" effect, ie not such large volume dynamics.

    Which leads me to ask again: can we have a user files section where we can upload our own modified patches/instruments for others to try and swop?

    Regards - Colin
  • N
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    --------------------------------------------------------------------------------
    Originally posted by herb


    For the Pro Edition we recorded a flautando, its a pppp with higher bowing speed nearer the bridge.

    Herb

    ---------------------------------------------------------------------------------

    Fascinating. I haven't heard of this effect before. As I understand it, faster bowing speed and playing nearer the bridge result in a louder sound. So does that mean the compensation to make it really soft is achieved by extremely low bow pressure and/or the angle of the bow?

    Just curious - I'm not a string player. I can't wait to hear it.
  • H
    H
    Right, faster bow speed and less pressure.
  • E
    E
    These are all great suggestions. I didn't know about the crossfade feature, but it sounds like a fine solution!

    I love the idea of a user area - more knowledge can't hurt (except maybe the A-bomb).

    KingIdiot, may I suggest this tag for your exclusive use: <flautando>gimme gimme gimme</flautando> [[;)]]

    Peter Roos: Yeah, it's torture reading all this and not having the $$$ to afford half this stuff (yet).

    Herb - been having problems logging in to forum recently. Anyone else having issues?
  • I
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    ABOUT "PPPPā€

    During a rehearsal the conductor stops the orchestra and says " third horn, too loud, once more pleaseā€. At the same passage he stops again and repeats the same thing " third horn too loud". After the third time of this, the second horn player stands up and says " But maestro, the third horn player is not here, he had to go to the dentist for an urgencyā€ The conductor stays cool and answers " OK, no problem, tell him when you se him.


    Iwan
  • E
    E
    Hahahaha [:P]


    What do you get when you drop a piano down a mineshaft?

    A flat minor.

    [[;)]]